Slackjawed gangsta ramblings open many albums in this day an age, and none know this more than the street-hardened playas of Reggie, who, wishing to cash in on this hip hopster life of guns, violence and drive by shootings, come jumping out of the blue and into your proverbial face. Such is the description of Reggie’s first eccentric track, ‘A.C Lerok.. Bitches Get Stitches’.
Rarely has there been a more bizarre or amusing lengthy opener to an album as eclectic as this; In double-take action however, ‘From Me 2 U’takes a pick from the styles available to the band and settles decidedly upon keyboard supported pop-punk, though said track is over surprisingly quickly and does little to warrant closer inspection. ‘Congratulations Matt and Chris’ is far more appealing, with prominence from short piano stylings giving the tune a completeness greatly needed – only increasing in complexity during the mid section of the track, before returning once again to its original state.
Perhaps naively, it could be presumed that the previous two tracks were representative of the style of the overall album. Well, I’m frequently wrong on all manner of subjects and Reggie’s album is no exception. ‘Something I’m Not..’ manages to convincingly perform some kind of hard prog-garage-silverchair-rock thing which stands out like a blue duck. Clearly tongue in cheek? Any doubt is quickly cast aside like an empty smarties tube with the following ‘Doot Doot Pause Doot Doot’ which proposes minimalist stylings and ultra-coolness to deliver a track which, I think it’s fair to say, brings an unexpected degree of shock.
By the time ‘Relive the Magic…’ opens up you’ve learnt that the members of Reggie know exactly what they want, even if what they want is utterly bizarre. Dual vocals and another addictive keyboard line make an excellent song, and perhaps the finest on offer, and conveys a sincerity that can only be found when comic nature is put aside for a moment of clarity. Next, ‘Good Times, Good Tunes..’ chunks away with heavy guitars before making room for the vocals to squeeze in at the back, but only for a short while – a short ‘intermission’ and in comes ‘Megan 2k’, which drags its feet in a melancholy fashion. Uninspiring guitars are saved by good vocals, but only just. Funnily enough, ‘Boot to the moon..’ is far more amusing and has to be heard to be believed; pop punk was sweeped aside for what seems like line dancing instructions and techno beats. It’s funny, if nothing else, and refreshing in this age of love stricken pop punk bands who take themselves far too seriously.
‘Thanx for stayin” is reflective of the band’s potential and ability to produce pleasing melody; a tinge of xylophone rounds the package off nicely, though the streak is somewhat cut short by ‘Gloves..’ which is impossible to take seriously. ‘Fought and Won One’ falls short by some way of the brilliance shown earlier, but ‘Ode to Manheim steamroller’ claws you back before the end – it possesses a certain ‘tweeness’ (if that isn’t a word, it should be) which is instantly likeable and nicely nostalgic.
This album is strange, very strange.. perhaps a little too strange. It holds a degree of weird novelty which endears it with an audience – but that is not to say the whole album is great – it is merely good; hampered by those tracks which are sure to induce insanity upon repeated play.
Definitely an accquired taste. Reggie is funny – sometimes very funny. See ‘Dwarf Invasion’ for details.
nick